Overture Jomelli Air: 'Comfort ye my people,' from the 'Messiah' Handel Chorus: Motetto, 'O God, when thou appearest' Mozart Air: 'Thou didst not leave,' 'Messiah' Handel Chorus: 'Lift up your hands' Handel Duetto: 'Hear my prayer' Kent Air: 'Oh! had I Jubal's Lyre' Handel 'Hallelujah Chorus,' from 'Mount of Olives,' Beethoven Part Second Overture from the Occasional Oratorio Handel Recitative and Air Handel Chorus: 'To thee Cherubim' Handel Solo and Chorus: 'Thou art the King of Glory,' Handel Air: 'Let the bright Seraphim'--'Judas Maccabæus' Handel Chorus: 'Sing unto the Lord' Handel Unfortunately contemporary critics were more enthusiastic than discriminating and it is impossible to tell what sort of performance was given of this excellent program. The effect of the forte parts of Mozart's _motetto_, one critic asserts, 'was almost overwhelming to a great number of the auditors, and will not be soon forgotten.' The same gentleman quite loses his balance over the 'sublime and majestic chorus from the oratorio of "Mount of Olives," which was another of the full pieces that had never before been presented to the musical public of this city. The connoisseurs and critics were watching with considerable solicitude to hear the splendid effort of genius, and which may be justly ranked among the first compositions of the present day. We believe we may assert with confidence that the expectations of all were fully realized, and, with regard to many of the audience, far exceeded. The effect was indeed grand, and was heightened by the trumpet of Mr. Petrie, and the kettle drums.' In connection with Mr. Petrie's trumpet it may be of interest to note the extraordinary predilection of New Yorkers at that time for brass instruments. Dr. Ritter quotes the following from a contemporary critic: 'The uncommon partiality our citizens manifest for the noisy part of the orchestra has been lately much commented upon by strangers. The trumpet and trombone occupy, in our concerts, the _posts of honor_. True it is, Mr. Norton and Mr. Gambeti are excellent performers--but we hear them in concerts too often. In England they have Harper, a first-rate trumpet; and Germany has Schmidt, the best trombone that ever existed. This gentleman visited England and was heard occasionally, but at Niblo's Garden we will undertake to say that more trumpet and trombone concertos were played last season than have been heard in England and Germany for two years. If Mr. Young adds himself to this triumvirate next season, we may fairly expect New York _will be blown away_.'